Category Archives: testimony

The Fallen

The Fallen was on BBC2 on Saturday night and it was privilege to watch. A tribute to British soldiers who’ve been killed in Afghanistan. The makers were almost invisible and inaudible as the brothers, sisters, parents, brothers-in-arms, commanders, wives of the fallen told their stories. Stories of individuals were spliced together with silence chronological rollcall, pieces of documentary and news, collections of shared moments of terrible grief, of funerals, the shrines left behind, the moment the news broke and so on. The smallest echo of background music tied things together, and at the end the voices and music fell silent and all you heard (and saw, then only heard) was the chipping of the stonemasons carving a memorial and that sound cut through to the very grieving of the soul.

As tributes, rituals and acts of memorial go, this was an honest testimony that reached beyond any private grief and brought the incredible acts of bravery of these young men and women right into a place where you had not choice but to listen, and look and feel, and feel fully what it means to live in this amazing, muddled democracy of our, and how we trash that privilege daily. It also showed how much we need private and collective rituals of remembrance.

I was very much reminded of Tony Parker , an oral historian who died in 1966, who gave his work and life over to making room for the voices of the marginalised and invisible. I first came across his work when I read a review of ‘May the Lord in his mercy say a prayer for Belfast’ and then tracked down everything I could, about lifers, lighthouse keepers, people who lived in a towerblock in North London. He had a way of being present and invisible and of just lightly twisting the words and shape of the stories so that there were small and shocking moments of surprise and realisation. No manipulation here, but a marriage of the best of raw voice and the honing that a storyteller can bring to it to help it be heard.

I was also reminded me of an as yet unblogged experience I had when I went to see Black Watch (which I did blog). This was Steve Mcqueen’s Queen and Country

Steve McQueen's tribute postage stamps

Steve McQueen's tribute postage stamps

Steve McQueen, in collaboration with 136 families whose loved ones have lost their lives in Iraq, has created a cabinet containing a series of facsimile postage sheets, each one dedicated to a deceased soldier.

\The simple brilliance of the idea of stamps as a container for remembrance, used as political statement about how little we seem able to honour our dead is something I’ve been carrying with me.

There’s a French word, aider, which we don’t but should have in English, which means to be an accomplice in something simply by witnessing it. Aiding and abetting should have that meaning. It’s the job of the teller, the artist, the author, the actor, I think, to create spaces of witnessing from which we cannot step back. The privilege of access to an audience brings with it the responsibility to engage that audience in witnessing and becoming responsible both for themselves and for what they see over which they can have some useful influence.

This is something I feel strongly and have still, frustratingly, fully to bring to bear in my own daily practice. But I will never give up trying.

Advertisements

‘Yes we can’

Not many of my words today, mostly Barack Obama

This is a fabulous example of using history to spring the future in leadership storytelling. It runs from 15:20 – 17:40 on the CNN Youtube. I don’t know how to extract the clip, but here also is the transcript. Just look at/listen to what he does in those 2:20 seconds. Through the eyes of one witness, a true witness, he gives us the sweep of history and of change over a century which puts the change of the next century into it’s right place. The past as a lens for the future. You can smell and touch and feel the past and the future in this speech. And look at his gorgeous Ciceronian rhetoric, simple repetition and reinforcement to grow the space of understanding, which any fule kno works every time. (I should add that it’s 345 words. 2 minute 20 seconds out of 29 minutes or so, so a bit under 10% I think, 345 words, something to bear in mind when planning your own Presidential acceptance speech, or just the story you are going to tell to your team tomorrow.)

This election had many firsts and many stories that will be told for generations. But one that’s on my mind tonight is about a woman who cast her ballot in Atlanta. She’s a lot like the millions of others who stood in line to make their voice heard in this election except for one thing – Ann Nixon Cooper is 106 years old.

She was born just a generation past slavery; a time when there were no cars on the road or planes in the sky; when someone like her couldn’t vote for two reasons – because she was a woman and because of the color of her skin.

And tonight, I think about all that she’s seen throughout her century in America – the heartache and the hope; the struggle and the progress; the times we were told that we can’t, and the people who pressed on with that American creed: Yes we can.

At a time when women’s voices were silenced and their hopes dismissed, she lived to see them stand up and speak out and reach for the ballot. Yes we can.

When there was despair in the dust bowl and depression across the land, she saw a nation conquer fear itself with a New Deal, new jobs and a new sense of common purpose. Yes we can.

When the bombs fell on our harbor and tyranny threatened the world, she was there to witness a generation rise to greatness and a democracy was saved. Yes we can.

She was there for the buses in Montgomery, the hoses in Birmingham, a bridge in Selma, and a preacher from Atlanta who told a people that “We Shall Overcome.” Yes we can.

A man touched down on the moon, a wall came down in Berlin, a world was connected by our own science and imagination. And this year, in this election, she touched her finger to a screen, and cast her vote, because after 106 years in America, through the best of times and the darkest of hours, she knows how America can change. Yes we can.

Bridges & ditches

I walked up the footpath at the back of our land yesterday, to see the weather from a different place. The water was roaring down the stone gullies that have been dug out through the land, and hurtling down the path too. It is unstoppable.

Gullies running in orange alert weather in the Ardeche

Gullies running in orange alert weather in the Ardeche

At dinner with the neighbours last night we talked of the bewilderment of the summer tourist, who can make no sense of these great dry stone beds, with absurdly high bridges constructed over them. You need to winter here to understand, and then this Orange alert is making for weather rare even for the vrai Ardechois, born and bred to it.

We spent a long time, too, foraging for the right translation for combler la fosse, which in French is to fill in a ditch, to close a gap. In it’s context I went for building bridges, so with a twist of reconciliation, but in the dictionary afterwards it seems more likely it’s to bridge a gap. I wonder if there’s anything in the French effort to actually fill the gap, while the English blithely construct a bridge over it and leave it there? How high a bridge then.

Fred, who runs a supermarket near Toulouse, was talking about how easy it was, right from the beginning of the year, to detect the change in buying habits, although the sharp swing away from brands came in about May. Danone yoghurts down 9%, where before it was 3 freezer shelves stacked with President butter to one own brand, now it’s 2 and 2. Own brands have been winning out over the grandes marques for quite a while. For Fred, that’s fine, so long as he’s tuned early to the changes and can change his buying.

I was thinking about this in respect of some work on future story exercises I’m working on with Anecdote just now. Shawn, delightfully, uses William Gibson (science fiction writer)

The future is already here, it’s just not evenly distributed

Fred can see the future in the changed distribution of butter in his freezers, one tiny image which pretty much conjures up a whole picture of crumbling economies. Of course, for organisational visioning you’d like the picture to be rosier, in one way. But it is rosy too. The own brand comes into it’s own.

I wonder whether there’s something too in the ditch versus bridge difference. We’ve been imagining future stories as a way to build a bridge from the future to the present, using present anecdotes (Gibsons we’re calling them) about future signs as part of the construction materials. Perhaps we need to be thinking about filling in ditches, combler la fosse, rather than bridging a gap. Or perhaps we need to build very high bridges indeed, knowing that the winter rains will wash away lower ones.

Rejected letter to Sunday Times about Jeremy Clarkson

Complete with rejecting email and outline of my next plan of attack.

Dear Ms WardThank you for your interesting letter. We would like to have been able to publish it, but there is space in our correspondence columns for only a fraction of the letters received each week. A copy of your letter has, of course, been passed on for the information of Jeremy Clarkson and the News Review Editor.

Yours sincerely
Parin Janmohamed
Letters Editor

From: Victoria Ward [mailto:vixta@mac.com]
Sent: 21 January 2008 16:43
To: Sunday Times Letters
Subject: Mr Clarkson’s bullyboy tactics, this time with telephone number

Dear Sir,
Mr Clarkson’s views about the Arts Council cuts, expressed last Sunday, are sit very uncomfortably with me. I’m fine with him having strong views, even with him having politically incorrect views. But the distasteful, ill-informed and bigoted way in which he has chosen to express himself serves no useful purpose except to add another layer of ill-gotten gains to his already swelling coffers. And that’s really only useful to him isn’t it? It’s probably just as well that the only time we’ll see him on the underground is on posters. Otherwise he’d probably get a lively earful from a passing arty person of some kind of ethnicity which doesn’t appeal to him (or two, or three, or even some of us middle-class, middle-aged whities might join in). Oh, and perhaps we’d invite Benjamin Zephaniah along to write a poem about it.

Let me try and explain, more seriously, why this is so important to me.

Mr Clarkson is a man who could use his unreconstructed white, middle class comfy conservatism and well heeled, bully boyishness (with it’s inexplicable popularity), to engage all kinds of people, the kinds who don’t normally, in holding intelligent and lively conversation about the role of culture in a democratic society, and how this can best be supported by a mix of private and public backing. It seems a shame that all he sees fit to do is demonstrate an ugly, ill-considered and provocative ignorance.There is something here which we should be grappling with, in all it’s complexity, neither with simplistic ranting nor with the kind sentimental support for multi-culturalism which I find equally distasteful. Neither dilution through prize-days-with-no-prizes, nor polarised caricature and contempt are the answer for a democracy such as ours. Neither namby-pamby or nimby suits us.

Britain is a nation jam-packed with cultural entrepreneurship, festival and celebration expressed in the widest possible range of ways and it’s mature enough to have some pretty hard conversations about what should, and should not, be going on in the arts. We are witnessing the resurgence in all things art, (in which I include all kinds of art, music, multi-media, history and heritage, philosophies, debate, theatre, performance, events etc) as an important way to break down retrenchments and hostility associated with identity, violence and confrontation. And in more subtle, but exciting ways, there are many signs of attempts to relocate work and community in people’s lives as having some kind of cultural substance. In short, we are rediscovering meaning, and culture is a key vehicle for such rediscovery. (I should know, its a subject I’m researching at present.) In fact Mr Clarkson is proposing exactly the opposite of Mr Jenkin’s recent view in the Guardian that the British Council now take the lead in British diplomacy in all but the most politically sensitive countries. (http://www.guardian.co.uk/comment/story/0,,2242835,00.html “Russia’s assault on the British Council reveals the true nature of diplomacy.” The first line says ‘Western democracies propagate their values more effectively through cultural exchange than through bullying rhetoric’ Perhaps Russia would suit Mr Clarkson better than the UK?)

By all means lets have a lively conversation about what kinds of cultural enterprise should be backed, and for whose benefit. This is not that conversation. It’s a self-opinionated, poorly researched rant by a man unqualified to offer any kind of commentary in this arena. Mr Clarkson should either get back behind the wheel and stay there, or step forward properly and use his public position and following to engage thoughtfully in this important subject and draw into it those who would not otherwise engage.

The BBC should be ashamed of having given him a platform from which to rant so ill-advisedly, and the Sunday Times should be even more ashamed of having published such an article.

Victoria Ward

So here’s what I said back:

Thanks for letting me know. I’ll put it in my blog instead then and have an unheard rant like a tree falling in the forest. I’m going to write to Mark Thomson too and have a bash at the BBC about putting the license fee towards things it’s needed for like the World Service and not wasting it on Jeremy Clarkson and Jonathon Ross. In fact I think, given the position that these figures have in society, and the salaries they command both of which far exceed political influence by any one politician, and these are salaries which we, the citizens pay for, the BBC Trust should insist on a kind of community service principle. Anybody contracted to them has an obligation to be political, with a small p and productive in engaging the politically disenfranchised in new forms of debate, across all platforms.

Good examples of this at work might be Monty Don and Jamie Oliver. Or of the BBC doing a cross platform thing on obesity.I haven’t quite worked out what I’m going to say yet, but I’m certainly going to be saying it.

Brothels in Bangladesh – a direct consequence of climate change

As I come to the shift of gear, the dreamy limbo of writing up the museums work we’ve been doing for the past few months and starting to clear a space to think about the work on horizon scanning and futures which hoves into few and will take up most of my thinking and unthinking space from February to July, I’m quite alert to tiny fragments which pack a punch. I’m finding a surprising amount in our mla database which seems to connect directly to the hsf thinking in ways that are almost frightening. For example I wrote recently about poetry as a kind of horizon scanner – the poetry library gets a surprising frontline view of what matters to people.Then in the Guardian this week I was startled by an article on the rise in prostitution in Bangladesh:

“The brothel opened 20 years ago, making it the newest and largest of the 14 recognised brothels in the country. It is set on the meeting point of two vast rivers, the Jamuna and the Ganges (known locally as the Padma), which makes this a very busy place to catch a ferry. Trucks carrying rice, jute, sugar cane and fish from the west and south-west of the country queue here for two or three days at a time to cross the river for the drive to the capital, Dhaka. In Bangladesh on a BBC World Service boat to look at the impact of climate change, I was surprised to find that an unexpected consequence of rising water levels is the growth in demand for prostitution. River erosion has meant the closure of some ferry berths, so men wait even longer to cross the river. And, while they wait, many of them pass the time in the company of Daulatdia’s women.”

We spent some time this week at a workshop imagining scenarios for mla relationship with business (banish mla as concept, replace it with a sense of extended learning places and resources essential to the rounded worker, then ‘backcast’ from that to the present day to see how one would achieve that symbiosis over, say, 20 years).

Anyway, my question for a couple of days has been, take a scenario (not good or bad, hopeful or unhopeful, just a confluence of circumstance) and imagine backwards from that circumstance how would would have forseen it in some way.So I’m interested in the idea of taking brothels (one can deconstruct brothel of course in quite a feminist way – poor endentured women with no prospects, men with too much time on their hands and not much inclination to do cultured things) in Bangladesh (low-lying land, under-resourced in flood management, having to react rather than act, most likely to be one of the frontiers where we witness the consequences of climate change, etc).But working back from brothels, Bangladesh, flooding, too few ferries, downtime. How might one, 10 years ago have forseen this thing? What kinds of horizon scanning might one have done in, say 1997? What kinds of different policies for prostitution and flood transportation might a reasonably accurate prognosis have led to?I think it might be interesting for our hsf governance work to come at it sideways, and find some unlikely events, from history and the present, and consider what a well-scanned intelligence process might have thrown up by way of a different policy path.What’s so interesting here is how little we prize the insights that people can bring from their daily witnessing. I’m witnessing a great deal of unlikely stuff because of where I sit. But I’m not a scanner or a futurist, and there’s no-one whose sleeve I can tug about most of it. I do it because it interests me and puts a bit of pep into my daily work. Think of all those scanners out there. If, instead of simply using people’s excess computing power to calculate space things,we used their witnessing power to help us see further, think of the changes that could bring about.

It happens a bit of course. Say the RSPB and birdwatching. There’s a model of participatory scanning that it’s worth looking more closely at, and I know Natural England so some interesting scanning using Cognitive Edge techniques. And it’s all trendy to talk about the wisdom of crowds. But I’m not talking about exactly any of that here. I think I’m talking about something a bit different that I’m trying to find and describe better.I’m off to read the Guardian and let it settle for a bit while I think about what it is I want to say next.

But before I do, a tiny, gorgeous little thing from my second visit to Louise Bougeois, accompanied by sketches of skyscapers as people – perhaps three of them standing together:

“One man was telling a story, it was a very good story, and it made him happy, but he told it so fast that nobody understood it.

Yup, that happens a lot.

Negative space, the most important knowledge space

I’ve always been interested in the shadow side of organisations – beyond tacit, that dark underbelly of unstated, often collusive, collective behaviour which informs, and glues together, the official work of the organisation.  Sometimes its a good thing, somethings it’s a seriously bad thing, and gets in the way, but is impossible to clear away. I doubt I’m saying anything about shadows, intangibles, invisibles, informals, that others have not already said.  Although I suppose I could say that without the shadow you’d not be able to see the shape of the thing.  So anyone who cares to look at an organisation without it’s shadow side is doing something like trying to look at the shape, size and colour of an object at the height of the midday sun (when we know only mad dogs and Englishman are out anyway).  

Some nice work has been done taking Jung’s ideas on shadow identity and applying them to archetypes of leadership.  Wizard, king, something, something (I forget what typical modes of leadership were chosen), each has it’s shadow side and the leader must be aware of the effects of the shadow side in order to work to best effect and chose the right people to surround him/her.That’s shadows, anyway.

More recently, I’ve become obsessed with a different but related concept which I can’t help feeling holds the key to the next round of my thinking and practice (and so, inevitably) Sparknow’s thinking and practice.And that’s negative space.  A road partly travelled but I suspect with a long hard climb ahead.It comes from the idea that, in art, the space around the object is where attention needs to be for the artist.   It’s easier to draw the spaces round a hand, a leaf, a chair a tree, and allow the object to emerge from attention to the negative spaces.  Henry Moore said something like ‘the hole holds more meaning than the material surrounding it’.  A window frames a view and makes sense of it (which isn’t quite negative space but is about looking through rather than at.)

My tiny, but growing and excitable hunch, is that in this germ of an idea is a huge truth.  We’re stumbling across it already by seeing knowledge workers as navigators – people through whom you find access; by making a shape of someone by what they google or what they recommend on Amazon; cookie trails allow us to trace the outline of a person without ever having to see the person directly.  I think we can go one stage further and imagine, in thinking what knowledge is key operating knowledge, a two step process (with more steps to follow as I imagine it)

1.  trace the outline of a person, google-wise, or amazonishly, through social network analysis, by what they use, what they recommend,  who they consort with

2.  persuade the person then to step out of themselves and look back at the space left and then describe not what they do, but what isn’t happening now they aren’t doing it, preferably to an invisible or actual colleague who they care about, so that they want to describe the task(s) in enough detail that the other is able to carry it/them out sufficiently well for only the smallest number of organisational hiccups to occur.

This goes perfectly with two things which seem increasingly important to me from everything I see.  Both are to do with knowledge not being captured.Codified knowledge doesn’t exist.  Codified information does though.Knowledge can’t be captured, except in the most labour intensive ways and even then, like a map, the terrain is always inescapably larger and more complex than the map of it.  It’s impossible to make a map of the world which covers the world.  Or if not impossible, actually pointless since it would add nothing.  It’s the miniature form of the map as a guide which makes it portable, relevant, useful to the user.  A 1:1 scale map of the world would be useless.  Knowledge capture of the literal kind is exactly the same.  Useless.  Too big.   Compression, illumination, symbols which make useful patterns are reference points, are what is useful.

Information, guidance and reference materials can be captured, but in the end (Bruno Latour-wise) its the interaction of the agent with the knowledge-object which determines an action. More and more work is conducted in a non-linear way – not at your desk, not in a sequence, but in groups and simultaneously.  The knowledge exists in the presence of each other and of codified resources in an environment conducive to exchange (slow or fast, more or less documented, depending on your purpose.)  So the knowledge exists in a moment in time, the information which results can point to, but not replicate, the experience of that knowledge.  So knowledge is in gaps which are temporarily closed and then opened again when people disperse from a meeting, a room.  It’s a vanishing thing, leaving a more or less ghostly trace, with some embodied consequences for those who were present, and perhaps those in their networks. That’s the first thing about capture.The second is to do with the contract between organisation and individual, or between organisations, particularly in circumstances where knowledge of business processes must be retained during a move, or restructing, or merger or upheaval of any kind. 

Capture is a hierarchical, intrusive concept.  It implies minions, service, servitude.  It implies containment.  It’s entirely the wrong concept for thinking about how to retain what is needed in order to operate the business.  And it takes no account of the individual on the receiving end of the upheaval.Which is again where negative space comes in.  

An invitation to imagine themselves as vanished and see

1.  what work does not get done when they are not at work and

2. what work would need to get done by another filling their shoes

is a far more delicate and thoughtful conversation and one that can lead to the sense of knowledge as a donation.  

Firstly the indirectness of the question allows them to pay attention and describe something which sits not in the individual but in the space between them and their imaginary colleague and will allow for a much more open and trusting description.  Then also, by going through this imagining process, the individual who is up-heaved can also be invited to share something that they themselves will be a beneficiary of – they can donate what they know and also treasure it for themselves;  they can leave a legacy and take it with them.  And we know from oral history work that the process of valuing themselves expressly in ways that they perhaps haven’t before, makes them visible to themselves and others in ways they haven’t been before.

I’m almost out of time and I’ve not even referred to the thing which propelled this idea (which I’ve tried out a bit, but not found a way to communicate well yet) right up to the surface for me was Shibboleth, the exhibition at the Tate Modern.  It’s a huge crack, running apparently through the fabric of the floor in the Turbine Hall, the main exhibition hall.  And it’s astonishing.  I’ll write more soon, but here’s a short note from the Tate Modern website.Much more to follow while I try and find this idea and what it means for me.  

About

Doris Salcedo’s Shibboleth is the first work to intervene directly in the fabric of the Turbine Hall. Rather than fill this iconic space with a conventional sculpture or installation, Salcedo has created a subterranean chasm that stretches the length of the Turbine Hall. The concrete walls of the crevice are ruptured by a steel mesh fence, creating a tension between these elements that resist yet depend on one another. By making the floor the principal focus of her project, Salcedo dramatically shifts our perception of the Turbine Hall’s architecture, subtly subverting its claims to monumentality and grandeur. Shibboleth asks questions about the interaction of sculpture and space, about architecture and the values it enshrines, and about the shaky ideological foundations on which Western notions of modernity are built.In particular, Salcedo is addressing a long legacy of racism and colonialism that underlies the modern world. A ‘shibboleth’ is a custom, phrase or use of language that acts as a test of belonging to a particular social group or class. By definition, it is used to exclude those deemed unsuitable to join this group.‘The history of racism’, Salcedo writes, ‘runs parallel to the history of modernity, and is its untold dark side’. For hundreds of years, Western ideas of progress and prosperity have been underpinned by colonial exploitation and the withdrawal of basic rights from others. Our own time, Salcedo is keen to remind us, remains defined by the existence of a huge socially excluded underclass, in Western as well as post-colonial societies.In breaking open the floor of the museum, Salcedo is exposing a fracture in modernity itself. Her work encourages us to confront uncomfortable truths about our history and about ourselves with absolute candidness, and without self-deception.Doris Salcedo was born in 1958 in Bogotá, Colombia, where she lives and works. Amonographic display of her work can be seen on Level 3 as part of the Poetry and Dream collection displays.                

Drumming to the rhythm of James Joyce

I’ve a friend, Mark, who once coined the term ‘synthalpy’ for the next big movement which would wash knowledge management away into the past of tired, failed, organisational managements of once kind or another.  Synthalpy is the positive energy which flows when two worlds, hitherto unknown to each other, collide.    

When I look around, he gets righter and righter.  Except it’s not just two worlds I don’t think.  In Saturday’s Guardian was an article about the artist Anri Sala, whose take a drumless recording of a new Franz Ferdinand song, a gallery in London, and fragments from the text of Ulysses by James Joyce.  Visitors are asked to record the drum beat.  Their instructions  are extracts from Ulysses – ‘ bootless’ ‘lickitup’ ‘window-sash’ ‘boo-entity’ with some placing in context of the music.  The instruction, in essence, is that the rhythm of the word is the drum beat rhythm which is sought. The artist, Sala, ends the instructions with Joyce ‘With care repeated, with greater difficulty remembered, forgot with ease, with misgiving remembered, repeated with error.’ J

ohn Cage would be proud.I wonder too, what happens in the brain where the rhythm of a word is the instruction to produce a series of beats in a sequence.  

I’ve been reading, too, a marvellous book called ‘The Actor and the Target’ by Declan Donnellan, who founded Cheek by Jowl, the theatre company in 1981.  Essential reading for anyone interested in work and performance in any settings.I need to read it again, but have been most struck, in my vague meanderings through time and its meaning in organisational settings by his characterisation of Fear (capitalised) in particular. Fear, he says,  splits real time into two fake times to avoid you being present.  He splits time into the past, riddled with Guilt and the future, infused with Anxiety.  The guilty past and the anxious future do not exist, only the present exists.

I notice some move in me, with this and with the time in two modes (mackerel, memory) a lurching away from interest in the future and to being present, ever present.Donnellan also says that acting  (but life I think) is about the pursuit of seeing rather than of being seen.  Seeing, in the sense of using the faculties to be present and to see fully what is happening.I’ve an embryonic thesis that we mistake, hugely the value of planning and the value of reordering the past with offical, and officious, programmes of evaluation, lessons learnt, business planning, visioning, mission statements – the dross of illusory structure which deludes we are, somehow, captains of the organisational ship and have a choice where we can see it.  I’m thinking now that the richness of organisational life unfolds in an acute awareness of the present, an ability to look around and see what is, and, by seeing and describing it well, to open it up lines of sight which are otherwise blocked.  I think metaphor is permissable too, with all its dangers, to allow the heightened language to describe complex depths and darknesses which are not otherwise safely explored, or even explored at all. For some things, only the language of metaphor allows access.

This is social constructionism gone mad of course, but not gone bad I don’t think.  It does call into question the happier clappier parts of appreciative enquiry, the dreamy bits, imagining Chicago, imagining this, imagining that. But I think that might be necessary.  Untrammelled imaginings are whimsical in some way.  And I don’t think that’s where the valuable moments happen in the expression of dreams. I could be terribly wrong to do that.  But it does not diminish the value of the act of enquiry itself, which appreciative enquiry values so much, and rightly too. I think dreaming belongs in bed at night, and in taut forms, vehicles of expression like theatre, poetry, where the dangerousness or newness or impossibility of the imagining is contained, bounded and made safe for exploration by the traditional forms in which these things are contained.  

I think the double unboundedness of sprawling imagining, has less power to make change that either the imaginings bounded in literary or musical forms and compositions which give them density and punch, or by the permission to describe things and be listened to. The presentation of the unthinkable and unsayable in forms which have familiarity and create a certain sense of safety in the listener or viewer to engage seems important.

In the work we’re doing for museums at present, there’s a drumbeat recurring theme about the loss of touch, feeling and rawness in today’s worklife. Museums and archives are used, but in a tidied up, refined way, by interpreters of, say, brand, to package them for accessibility and purvey them to organisations who want things tidy. That’s one trend. Against mess, against the rolling up of sleeves and plunging yourself into the unknown (which is certainly where Fear splits time into two, with great glee). But there’s another trend too, towards treasuring the archive. And for more than just presentation purposes I think. In this world of ephemera and transience where people float in and out of work and work relationships and commitments, some lineage seems more then ever essential. Levi, John Lewis, organisations which are brand-smart, but also thoughtful, are finding that the archives must be made visible and feelable. Not just to plunder them for clever ideas and a kind of pseudo-heritage which might make things feel more solid and permanent. But in a genuine move to treasure and share the inspirational moments from the past so that they come forward and provide inspiration, context and meaning for those who relate to them in the present, which will, in some way change their future.

One person we interviewed said that all work is changing, becoming less linear, more reliant on simultaneity, in the present of a rich resource, in a place of character. These insights prompt me more than ever to the conviction that knowledge is not to be buttoned down, but only exists in the presence of others and in the presence of rich resources. It can only flow and cross gaps. In turn this leads me ever more to the conviction that knowledge is about not-knowledge. I’m taking a look at the negatives of things, the other sides, the shadows, the dark, the blocks, the gaps, the un-things, the not-knowing to see where this leads me.

This goes right back to Declan Donnellan. Acting, he says, is not about the actor, its about the target. The target is not a goal, or objective, or intention, or mission of any kind. Its something that exists outside the actor which fuels the actor. Like dancing with a bamboo stick. You’ll find, if you dance with a stick, that the more you allow the stick to lead, the more graceful, ambitious and dynamic the dance is. Surrender to the stick.

Matisse, and I’ve shared this before, had no idea what he was doing or why when he spent four years carving backs. He did it because it needed to be done. I’m not Matisse, I’m not Declan Donnellan, I’m not an artist of any kind. I’m unlikely to be a writer. I’m most likely to provide some kind of invisible mending and some spaces of invitation and conversation in different settings. But I do recognise the growing need to do something because it somehow needs to be done, rather than need to know why. And what needs to be done by me now is to understand the importance of absenting the future from organisational planning, reconnecting with rawness, and shining a light on the negative, hidden and lurking places which are where knowledge really lies.

I’m not quite sure where this rambling gets me but it feels like something important is flickering at the edges of my vision. I hope David Cooperrider writes in to tell me how wrong I am and persuade me otherwise.  Or anyone else for that matter.